Le schiave della città

I like this movie. It is confusing and difficult, but you can't help but like it. Ginger Rogers plays a fashion magazine editor...and she finds herself having headaches and feeling dissatisfied. This makes no sense, as she has an exceptional job (especially for 1940) three suitors, and conscious and unconscious lives that are fabulously costumed. She goes to her doctor who recommends a psychiatrist...a drastic move for the time...which she promptly declines...but then does finally go to. Ginger undergoes a great deal of stress in this film,and keeping a bottle of aspirin at hand might be wise. As she makes progress with her shrink...her dream sequences become more and more lavish. The film is beautifully costumed...even clothes left lying on a chair...are fabulous. And there are HATS. HATS. Hats... mousey through military...lots of hats...and FURS...Ginger has one dress with a floor length mink skirt...lined with gold and scarlet sequins, two or three fur coats, a muff, and several other dresses trimmed with fur. Pull the shades and make certain that no one from PETA is around when you run this film. The dream sequences are the real meat of this...they are very beautiful and very surreal. In the end, of course, Ginger selects one of the men (no, not the married one) and seems to be on the road to recovery. You get the feeling that a lot got left out...and I don't know what (yet). I know Danny Kaye was 'discovered' in the Broadway show...and that he had special material. Danny was under contract to Sam Goldwyn by the time this was made...so neither he nor any of his special material made the transition into this film. This film is a visual knock out...and a restored print should be made and hi-def DVD's struck...so we can watch this from time to time. It cannot help but remain dated and politically incorrect....that is the legacy of its 1940 dateline.. but it will certainly always be stunning to look at.

I found this to be moderately enjoyable and much smoother than I was expecting, after reading of all the problems in making it and the cutting of musical numbers from the original score. Would love to see it as was originally intended (in a restored DVD version).

The psychoanalysis as it unfolds is interesting and makes sense, except to the point of the woman needing to be dominated by the man. I don't know if this was dictated by the culture of the time, but all that was really needed was for Liza to know she needed to give time to gaining fulfillment in a relationship (without the aspect of dominance) and not be so driven work wise (her substitute), and it would have come out without the nasty taste it leaves now (in regards to this aspect of the film).

Director Mitchell Leisen dealt with this sort of theme also (without the psychoanalysis) in Take a Letter Darling which was funnier and sharper, and without the need for the man to have to dominate the woman.

Some of the visual imagery in the dream sequences is a lot of fun and apparently a lot of care was put into their production.

As well the movie seems like it is a 50s product but that could just be the colour.

A Technicolor spectacular, with costumes and wonderful sets to match, but the story isn't much, mostly what you might expect to read in Popular Psychoanalysis magazine.

Best are the dream and reverie sequences, especially the trial in the circus ring. These are where the singing and dancing is, but there is not much and what little there is is not very exciting.

For just three minutes towards the end of this overproduced travesty of Moss Hart's 1941 Broadway hit we finally get a hint of what might have been, when Ginger Rogers (a coarse substitute for Gertrude Lawrence, who declined to submit to the indignity of testing for the part) is finally allowed to sing a song from Kurt Weill & Ira Gershwin's acclaimed score - the magnificent 'Saga of Jenny' - the only song from the original production to make it into the film. (The flashbacks to her childhood and youth that follow actually manage to be quite touching.)

At $2.6million the most expensive film yet made by Paramount, at the box office the studio received a handsome return on its investment. But the hectoring misogyny that makes this film almost unwatchable today is probably just one reason that nobody has ever bothered to do a decent restoration of the film, so we really don't get the full benefit of the Oscar-nominated Technicolor photography and art direction that wowed critics and audiences back in 1944.

Ray Milland is excruciatingly misused as a charmless boor who Ginger is required by the script eventually to fall into the arms of (Cary Grant might just have pulled it off), and her rejection of Warner Baxter and Jon Hall for being insufficiently Alpha is just another twist of the knife of the already unpleasant sexual politics of this piece. (Ginger, by the way, actually looks pretty cool to my eyes in her 'unattractive' mannish suits.)

But at least we don't get Danny Kaye's mugging from the Broadway original as the camp fashion photographer Russell Paxton (Mischa Auer is a far more agreeable substitute), and are spared his 'hilarious' patter song 'Tschaikowsky (and Other Russians)'.

Mary Phillips does her best in an underwritten part (as indeed are most of them). Edward Fielding, by the way, who plays Ginger's physician in the opening sequence, also appeared uncredited as Dr. Edwardes in the dream sequence of Hitchcock's 'Spellbound' (1945), Hollywood's other high profile exercise in cod psychology from this era.

Liza (Ginger Rogers) is the editor of a magazine who can no longer make decisions. She suffers headaches because she is highly strung about work and she has a love life that she is not comfortable with. Through psychoanalysis with Dr Brooks (Barry Sullivan), she unravels her troubles by recounting 3 dream sequences. Can she regain her decisiveness?

This film is a bit girly in that it concerns one woman's journey to discover lost memories and understand her behaviours. It has great colour, good costumes and it's well acted with a spattering of humour throughout. The bulk of the film comes in the form of dream sequences which are musical, colourful and surreal. The 2nd sequence has a pointless dance scene which drags on a bit but overall the dreams are entertaining. The rest of the film follows the romances that Liza has alongside her role as a tough "boss lady". The film is fun and has a happy ending.